Invoking a quasi-encyclopaedic logic, Mignard’s works bring mysterious and strangely universal tales out of oblivion. The internal logic of the paintings, like alphabetical coincidence, places side by side the sacred and the profane, the figurative and the abstract, the immense and the intimate, the dreamlike and the realistic, refusing to develop a stable narrative. For Nopal, the last king of Ethiopia, Mexican banknotes and Jamaican records thus sit together with prayer rolls, astral maps and primitive landscapes, staging an imagery on the edge of time and space.